Erin Griffey
Biographic Data
| ID | 4079328 |
|---|---|
| NAME | Erin Griffey |
| GIVEN NAMES | Erin |
| FAMILY NAME | Griffey |
| SIGNATURE | GRIFFEY E |
| AFFILIATIONS | University of Auckland |
| ORCID | 0000-0002-3637-9396 |
| VERIFIED | Yes |
| TOTAL WORKS | 14 |
| TOTAL CITATIONS | 2 |
| AUTHOR COUNT | 13 |
| EDITOR COUNT | 1 |
| FIRST PUBLICATION YEAR | 1997 |
| LATEST PUBLICATION YEAR | 2026 |
| H-INDEX | 1 |
From regimen to representation: Medical advice and the beautiful body in early modern Europe
Framing physical beauty as a barometer of health, this article charts the dialogue between early modern medical instruction (regimens and recipes) and figurative artworks. This dialogue took on new potency in the Renaissance with the widespread circulation of medical regimens and recipes in print, and reinvigorated cultural imagery that foregrounded the body. At the same time, the threat and lasting impact of infectious diseases on the skin, incl…
Anthony van Dyck’s Portrayal of Henrietta Maria’s Dress: Artistic Representation and Archival Evidence
From Valerie Cumming and Aileen Ribeiro to Emilie Gordenker and Anna Reynolds, dress historians have shown that Anthony van Dyck’s portraits necessitate a nuanced reading in terms of the types of garments depicted as well as their artful representation. And yet there has been no analysis of how the garments documented in Henrietta Maria’s wardrobe correspond to those the artist portrays her wearing. This article addresses this question by reading…
Re-Dressing the Evidence: Henrietta Maria’s Wardrobe Accounts, 1627–1639
This article presents evidence about Henrietta Maria's dress from her wardrobe accounts of 1627 to 1639. The accounts, in the National Archives at Kew, include a vast range of loose bills, acquittances and warrants related to textiles, garments, trimmings and accessories supplied and made for the Queen and members of her household. The extraordinary variety and splendour of the Queen's dress as well as the lavish clothing she presented to others …
The Rose and Lily Queen’: Henrietta Maria’s fair face and the power of beauty at the Stuart court
The marriage of Henrietta Maria (1609–69) and Charles I (1600–49) was presented in literature and prints as the joining of the ‘lily’ (France, the queen) and the ‘rose’ (England, the king). Harnessing these floral analogies, this article examines how Henrietta Maria’s fair face was invested with social, political and medical import, and as such was widely cultivated and enhanced through physic, sartorial choices and painted representations. Her s…
Express yourself? Henrietta Maria and the political value of emotional display at the Stuart court
Through an investigation of letters, accounts and artworks, this article demonstrates how Queen Henrietta Maria’s emotions were carefully calibrated to conform to conventions of appropriate behaviour and to maximise benefits that were both personal and dynastic, political and financial. The queen’s emotional display is considered within the gendered and political contexts of the Stuart and Bourbon courts, from the time of her marriage to her deat…
Picturing Confessional Politics at the Stuart Court: Henrietta Maria and Catherine of Braganza
The deep confessional tensions in Stuart Britain were embodied in its Catholic queens. Queens, in their portraits and in the artworks in their palaces and chapels, were positioned within this dialectic, with the competing expectations of their husbands, their families, their religious retinues, the papacy, their own personal devotions, and the public against a changing political situation. This article examines how the visual arts provided a powe…
Sartorial Politics in Early Modern Europe: Fashioning Women
Van Dyck paintings in Stuart royal inventories, 1639–1688
Van Dyck’s paintings have been thoroughly analyzed in terms of style, iconography and patronage, but there has been no systematic analysis of how these pictures were recorded in Stuart inventories. Pictures attributed to Van Dyck are listed in several royal inventories from c.1639 to c.1688 – from those compiled by Abraham van der Doort c.1639 to the Commonwealth sale of 1649–51, to Charles II of c.1666–67, Henrietta Maria of 1669 and James II of…
Cultural Exchange in Seventeenth-Century France and England
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Henrietta Maria's inventory at Colombes
The story of Henrietta Maria's death, and the inventory that documents her possessions, offers new insight into the constant and indeed connected flow of political missions, confessional loyalty, finances and artworks during the middle decades of the seventeenth century. The making of the inventory was more than a routine bureaucratic procedure; it provides a valuable entrée into high political intrigue, as those who were drawing up the inventory…
Sexual Portraits: Edward Melcarth and Homoeroticism in Modern American Art
Although one will not find Edward Melcarth (1914-73) in the best recent histories of male homosexuality and American art, he was not always so spectral. Named in Life magazine in 1950 as one of the best young American artists, he exhibited as a painter, draftsman and sculptor and also practised as an illustrator, photographer and designer. His work survives in the Forbes Collection, in the Smithsonian Institution and in the art archives at the Ki…
The Portrait as Leader: Commissioned Portraits and the Power of Tradition
This article examines the functions that commissioned portraits of leaders play in re-presenting the appearance of a particular leader, the office that he or she occupied as well as broader notions of idealized leadership at a particular point in time and place. We argue that one can usefully think of a portrait functioning as a virtual leader in terms of its latent and enduring influence upon followers. It is able to fulfil this function in larg…
Pro-Creativity. Art, Love and Conjugal Virtue in Seventeenth-Century Dutch Artists' Self-portraits
The article explores the close conceptual and indeed often practical relationship between art and love and its relevance for seventeenth-century Dutch artists. Focusing on pictures signalling that the subject is an artist, it considers the depiction of the artist as husband and as family man for whom love is an inspiration, as conjugal love is accompanied by the love of art. Special attention is paid to paintings in which the productive, pro-crea…
What's in a Name? Forging an Identity: Portraits of Nicolaes Tulp (1593–1674)
Through an exploration of the portraits identified with the name \n'Nicolaes Tulp ', a doctor and magistrate in seventeenth-century \nAmsterdam, this paper will analyse the visual persona of \nNicolaes Tulp. The portraits did play (and continue to perform) \nan active, shaping role in the construction of his identity. As \nthe two-part title suggests, on one level it will explore how \nTulp 's identity was forged in response to his changing socia…
The Rose and Lily Queen’: Henrietta Maria’s fair face and the power of beauty at the Stuart court
The marriage of Henrietta Maria (1609–69) and Charles I (1600–49) was presented in literature and prints as the joining of the ‘lily’ (France, the queen) and the ‘rose’ (England, the king). Harnessing these floral analogies, this article examines how Henrietta Maria’s fair face was invested with social, political and medical import, and as such was widely cultivated and enhanced through physic, sartorial choices and painted representations. Her s…
The Portrait as Leader: Commissioned Portraits and the Power of Tradition
This article examines the functions that commissioned portraits of leaders play in re-presenting the appearance of a particular leader, the office that he or she occupied as well as broader notions of idealized leadership at a particular point in time and place. We argue that one can usefully think of a portrait functioning as a virtual leader in terms of its latent and enduring influence upon followers. It is able to fulfil this function in larg…
What's in a Name? Forging an Identity: Portraits of Nicolaes Tulp (1593–1674)
Through an exploration of the portraits identified with the name \n'Nicolaes Tulp ', a doctor and magistrate in seventeenth-century \nAmsterdam, this paper will analyse the visual persona of \nNicolaes Tulp. The portraits did play (and continue to perform) \nan active, shaping role in the construction of his identity. As \nthe two-part title suggests, on one level it will explore how \nTulp 's identity was forged in response to his changing socia…
Pro-Creativity. Art, Love and Conjugal Virtue in Seventeenth-Century Dutch Artists' Self-portraits
The article explores the close conceptual and indeed often practical relationship between art and love and its relevance for seventeenth-century Dutch artists. Focusing on pictures signalling that the subject is an artist, it considers the depiction of the artist as husband and as family man for whom love is an inspiration, as conjugal love is accompanied by the love of art. Special attention is paid to paintings in which the productive, pro-crea…
The Portrait as Leader: Commissioned Portraits and the Power of Tradition
This article examines the functions that commissioned portraits of leaders play in re-presenting the appearance of a particular leader, the office that he or she occupied as well as broader notions of idealized leadership at a particular point in time and place. We argue that one can usefully think of a portrait functioning as a virtual leader in terms of its latent and enduring influence upon followers. It is able to fulfil this function in larg…
Henrietta Maria's inventory at Colombes
The story of Henrietta Maria's death, and the inventory that documents her possessions, offers new insight into the constant and indeed connected flow of political missions, confessional loyalty, finances and artworks during the middle decades of the seventeenth century. The making of the inventory was more than a routine bureaucratic procedure; it provides a valuable entrée into high political intrigue, as those who were drawing up the inventory…
Sexual Portraits: Edward Melcarth and Homoeroticism in Modern American Art
Although one will not find Edward Melcarth (1914-73) in the best recent histories of male homosexuality and American art, he was not always so spectral. Named in Life magazine in 1950 as one of the best young American artists, he exhibited as a painter, draftsman and sculptor and also practised as an illustrator, photographer and designer. His work survives in the Forbes Collection, in the Smithsonian Institution and in the art archives at the Ki…
Cultural Exchange in Seventeenth-Century France and England
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Van Dyck paintings in Stuart royal inventories, 1639–1688
Van Dyck’s paintings have been thoroughly analyzed in terms of style, iconography and patronage, but there has been no systematic analysis of how these pictures were recorded in Stuart inventories. Pictures attributed to Van Dyck are listed in several royal inventories from c.1639 to c.1688 – from those compiled by Abraham van der Doort c.1639 to the Commonwealth sale of 1649–51, to Charles II of c.1666–67, Henrietta Maria of 1669 and James II of…
Sartorial Politics in Early Modern Europe: Fashioning Women
Express yourself? Henrietta Maria and the political value of emotional display at the Stuart court
Through an investigation of letters, accounts and artworks, this article demonstrates how Queen Henrietta Maria’s emotions were carefully calibrated to conform to conventions of appropriate behaviour and to maximise benefits that were both personal and dynastic, political and financial. The queen’s emotional display is considered within the gendered and political contexts of the Stuart and Bourbon courts, from the time of her marriage to her deat…
Picturing Confessional Politics at the Stuart Court: Henrietta Maria and Catherine of Braganza
The deep confessional tensions in Stuart Britain were embodied in its Catholic queens. Queens, in their portraits and in the artworks in their palaces and chapels, were positioned within this dialectic, with the competing expectations of their husbands, their families, their religious retinues, the papacy, their own personal devotions, and the public against a changing political situation. This article examines how the visual arts provided a powe…
The Rose and Lily Queen’: Henrietta Maria’s fair face and the power of beauty at the Stuart court
The marriage of Henrietta Maria (1609–69) and Charles I (1600–49) was presented in literature and prints as the joining of the ‘lily’ (France, the queen) and the ‘rose’ (England, the king). Harnessing these floral analogies, this article examines how Henrietta Maria’s fair face was invested with social, political and medical import, and as such was widely cultivated and enhanced through physic, sartorial choices and painted representations. Her s…
Re-Dressing the Evidence: Henrietta Maria’s Wardrobe Accounts, 1627–1639
This article presents evidence about Henrietta Maria's dress from her wardrobe accounts of 1627 to 1639. The accounts, in the National Archives at Kew, include a vast range of loose bills, acquittances and warrants related to textiles, garments, trimmings and accessories supplied and made for the Queen and members of her household. The extraordinary variety and splendour of the Queen's dress as well as the lavish clothing she presented to others …
From regimen to representation: Medical advice and the beautiful body in early modern Europe
Framing physical beauty as a barometer of health, this article charts the dialogue between early modern medical instruction (regimens and recipes) and figurative artworks. This dialogue took on new potency in the Renaissance with the widespread circulation of medical regimens and recipes in print, and reinvigorated cultural imagery that foregrounded the body. At the same time, the threat and lasting impact of infectious diseases on the skin, incl…
Anthony van Dyck’s Portrayal of Henrietta Maria’s Dress: Artistic Representation and Archival Evidence
From Valerie Cumming and Aileen Ribeiro to Emilie Gordenker and Anna Reynolds, dress historians have shown that Anthony van Dyck’s portraits necessitate a nuanced reading in terms of the types of garments depicted as well as their artful representation. And yet there has been no analysis of how the garments documented in Henrietta Maria’s wardrobe correspond to those the artist portrays her wearing. This article addresses this question by reading…
Art (12 works) · Historical Art and Culture Studies (10 works) · History (10 works) · Art history (9 works) · Portrait (8 works) · Sociology (8 works) · Historical Influence and Diplomacy (7 works) · Law (7 works) · Political science (7 works) · Visual arts (7 works)